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ON TRANSLATING HOMER 



LONDON 

PBINTED BY S POTTIS WOODE AND CO, 

NEW-STREET SQUAEE 



ON TRANSLATING HOMER 



LAST WORDS 



A LECTUEE GIVEN AT OXEOED 



BY 

y 

MATTHEW ARNOLD, M.A. 

PEOFESSOE OF POETET IN THE IWITEESITY OF OXFOBD, AJfD 
FOEMEBLT FELLOW OF OKIEL COLLEGE 




LONDON 

LONGMAN, GREEN, LONGMAN, AND ROBERTS 

1S62 



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S8- /S33H5 






Multi, qui perse quuntur me, et tribulant me: a testimoniis 
non declinavi. 



ON TRANSLATING HOMER 

LAST WORDS. 



Buffon, the great French naturalist, imposed on 
himself the rule of steadily abstaining from all 
answer to attacks made upon him. l Je n'ai jamais 
repondu a aucune critique,' he said to one of his 
friends who, on the occasion of a certain criticism, 
was eager to take up arms in his behalf; 'je n'ai 
jamais repondu a aucune critique, et je garderai le 
meme silence sur celle-ci.' On another occasion, 
when accused of plagiarism, and pressed by his friends 
to answer, ' II vaut mieux,' he said, ' laisser ces mau- 
vaises gens dans l'mcertitude.' Even when reply 
to an attack was made successfully, he disapproved of 
it, he regretted that those he esteemed should make 
it. Montesquieu, more sensitive to criticism than 
Buffon, had answered, and successfully answered, an 
attack made upon his great work, the Esprit cles Lois, 
by the Gazetier Janseniste. This Jansenist Gazetteer 
was a periodical of those times, — a periodical such as 
other times, also, have occasionally seen, — very pre- 
tentious, very aggressive, and, when the point to be 
seized was at all a delicate one, very apt to miss it. 



2 OX TRANSLATING HOMER: 

'Notwithstanding this example,' said Buffon, — who, 
as well as Montesquieu, had been attacked by the 

Jansenist Gazetteer, — ' notwithstanding this example, 
I think I may promise my course will be different. 
I shall not answer a single word.' 

And to any one who has noticed the baneful effects 
of controversy, with all its train of personal rivalries 
and hatreds, on men of letters or men of science ; to 
any one who has observed how it tends to impair, not 
only their dignity and repose, but their productive 
force, their genuine activity ; how it always checks 
the free play of the spirit, and often ends by stopping 
it altogether; it can hardly seem doubtful, that the 
rule thus imposed on himself by Buffon was a wise 
one. His own career, indeed, admirably shows the 
wisdom of it. That career was as glorious as it was 
serene ; but it owed to its serenity no small part of 
its glory. The regularity and completeness with 
which he gradually built up the great work which he 
had designed, the air of equable majesty which he 
shed over it, struck powerfully the imagination of 
his contemporaries, and surrounded Buffon's fame 
with a peculiar respect and dignity. ' He is,' said 
Frederick the Great of him, e the man who has best 
deserved the great celebrity which he has acquired.' 
And this regularity of production, this equableness 
of temper, he maintained by his resolute disdain 
of personal controversy. 

Buffon's example seems to me worthy of all imita- 



LAST WORDS. 3 

tion, and in my humble way I mean always to follow 
it. I never have replied, I never will reply, to any 
literary assailant ; in such encounters tempers are 
lost, the world laughs, and truth is not served. Least 
of all should I think of using this Chair as a place 
from which to carry on such a conflict. But when a 
learned and estimable man thinks he has reason to 
complain of language used by me in this Chair, — 
when he attributes to me intentions and feelings to- 
wards him which are far from my heart, I owe him 
some explanation,— and I am bound, too, to make the 
explanation as public as the words which gave offence. 
This is the reason why I revert once more to the 
subject of translating Homer. But being thus brought 
back to that subject, and not wishing to occupy you 
solely with an explanation which, after all, is Mr. 
Newman's affair and mine, not the public's, I shall 
take the opportunity, — not certainly to enter into any 
conflict with any one, — but to try to establish our 
old friend, the coming translator of Homer, yet a 
little firmer in the positions which I hope we have 
now secured for him ; to protect him against the 
danger of relaxing, in the confusion of dispute, his 
attention to those matters which alone I consider 
important for him ; to save him from losing sight, 
in the dust of the attacks delivered over it, of the 
real body of Patroclus. He will probably, when he 
arrives, requite my solicitude very ill, and be in 
haste to disown his benefactor ; but my interest in 



4 OX TRANSLATING HOMER : 

him is so sincere that I can disregard his probable 
ingratitude. 

First, however, for the explanation. Mr. Newman 
has published a reply to the remarks which I made 
on his translation of the Iliad. He seems to think 
that the respect which at the outset of those remarks 
I professed for him must have been professed ironi- 
cally ; he says that I use ' forms of attack against him 
which he does not know how to characterise ; ' that I 
1 speak scornfully ' of him, treat him with ' gratuitous 
insult, gratuitous rancour ; ' that I ' propagate slan- 
ders ' against him, that I wish to c damage him with 
my readers,' to ' stimulate my readers to despise ' 
him. He is entirely mistaken. I respect Mr. New- 
man sincerely ; I respect him as one of the few 
learned men we have, one of the few who love learn- 
ing for its own sake ; this respect for him I had before 
I read his translation of the Iliad, I retained it 
while I was commenting on that translation, I have 
not lost it after reading his reply. Any vivacities of 
expression which may have given him pain I sincerely 
regret, and can only assure him that I used them 
without a thought of insult or rancour. When I 
took the liberty of creating the verb to Neivmanise, 
my intentions were no more rancorous than if I had 
said to Miltonise ; when I exclaimed, in my astonish- 
ment at his vocabulary, — ' With whom can Mr. New- 
man have lived ? ' — I meant merely to convey, in a 
familiar form of speech, the sense of bewilderment 



LAST WORDS. 5 

one has at finding a person to whom words one 
thought all the world knew seem strange, and words 
one thought entirely strange, intelligible. Yet this 
simple expression of my bewilderment Mr. Newman 
construes into an accusation that he is * often guilty 
of keeping low company,' and says that I shall 
* never want a stone to throw at him.' And what 
is stranger still, one of his friends gravely tells me 
that Mr. Newman ' lived with the fellows of Bal- 
liol.' As if that made Mr. Newman's glossary less 
inexplicable to me ! As if he could have got his 
glossary from the fellows of Balliol ! As if I could 
believe, that the members of that distinguished so- 
ciety, — of whose discourse, not so many years after- 
wards, I myself was an unworthy hearer, — were 
in Mr. Newman's time so far removed from the 
Attic purity of speech which we all of us admired, 
that when one of them called a calf a bulkin, the 
rest ' easily understood ' him ; or, w T hen he wanted to 
say that a newspaper-article was ' proudly fine,' it 
mattered Little whether he said it was that or bragly ! 
No ; his having lived with the fellows of Balliol does 
not explain Mr. Newman's glossary to me. I will 
no longer ask i with whom he can have lived,' since 
that gives him offence ; but I must still declare 
that where he got his test of rarity or intelligibility 
for words is a mystery to me. 

That, however, does not prevent me from enter- 
taining a very sincere respect for Mr. Newman 

B 3 



G OX TRANSLATING HOMER: 

and since he doubts it, I am glad to reiterate my 
expression of it. But the truth of the matter is 
this: I unfeignedly admire Mr. Newman's ability 
and learning ; but I think in his translation of 
Homer he has employed that ability and learning 
quite amiss. I think he has chosen quite the wrong 
field for turning his ability and learning to account. 
I think that in England, partly from the want of 
an Academy, partly from a national habit of intel- 
lect to which that want of an Academy is itself due, 
there exists too little of what I may call a public 
force of correct literary opinion, possessing within 
certain limits a clear sense of what is right and 
wrong, sound and unsound, and sharply recalling 
men of ability and learning from any flagrant mis- 
direction of these their advantages. I think, even, that 
in our country a powerful misdirection of this kind is 
often more likely to subjugate and pervert opinion, 
than to be checked and corrected by it.* Hence a 
chaos of false tendencies, wasted efforts, impotent 
conclusions, works which ought never to have been 
undertaken. Any one who can introduce a little 

* ' It is the fact, that scholars of fastidious refinement, but of a 
judgment which I think far more masculine than Mr. Arnold's, hare 
passed a most encouraging sentence on large specimens of my 
translation. I at present count eight such names.' — 'Before ven- 
turing to print, I sought to ascertain how unlearned women and 
children would accept my verses. I could boast how children and 
half-educated women have extolled them, how greedily a working 
man has inquired for them, without knowing who was the trans- 
lator.'— Mr. Newman's Bejdy, pp. 2, 12, 13. 



LAST WORDS. 7 

order into this chaos by establishing in any quarter 
a single sound rule of criticism, a single rule which 
clearly marks what is right as right, and what is 
wrong as wrong, does a good deed ; and his deed is 
so much the Letter the greater force he counteracts 
of learning and ability applied to thicken the chaos. 
Of course no one can be sure that he has fixed any 
such rules ; he can only do his best to fix them ; 
but somewhere or other, in the literary opinion of 
Europe, if not in the literary opinion of one nation, 
in fifty years, if not in five, there is a final judg- 
ment on these matters, and the critic's work will 
at last stand or fall by its true merits. 

Meanwhile, the charge of having in one instance 
misapplied his powers, of having once followed a 
false tendency, is no such grievous charge to bring 
against a man ; it does not exclude a great respect 
for himself personally, or for his powers in the 
happier manifestation of them. False tendency is, 
I have said, an evil to which the artist or the man 
of letters in England is peculiarly prone ; but every- 
where in our time he is liable to it, — the greatest 
as well as the humblest. 'The first beginnings of 
my Wilhelm Meister,' says Goethe, ' arose out of an 
obscure sense of the great truth that man will 
often attempt something for which nature has denied 
him the proper powers, will undertake and practise 
something in which he cannot become skilled. An 
inward feeling warns him to desist ' (yes, but there 

B 4 



8 OX TRANSLATING HOMER: 

are, unhappily, cases of absolute judicial blindness !), 
'nevertheless he cannot get clear in himself about 
it, and is driven along a false road to a false goal, 
without knowing how it is with him. To this we 
may refer everything which goes by the name of false 
tendency, dilettantism, and so on. A great many 
men waste in this way the fairest portion of their 
lives, and fall at last into wonderful delusion. 1 Yet 
after all, — Groethe adds,— it sometimes happens that 
even on this false road a man finds, not indeed that 
which he sought, but something which is good and 
useful for him ; e like Saul, the son of Kish, who 
went forth to look for his father's asses, and found 
a kingdom.' And thus false tendency as well as 
true, vain effort as well as fruitful, go together to 
produce that great movement of life, to present that 
immense and magic spectacle of human affairs, which 
from boyhood to old age fascinates the gaze of every 
man of imagination, and which would be his terror, 
if it were not at the same time his delight. 

So Mr. Newman may see how wide-spread a 
danger it is, to which he has, as I think, in setting 
himself to translate Homer, fallen a prey. He 
may be well satisfied if he can escape from it by 
paying it the tribute of a single work only. He may 
judge how unlikely it is that I should ' despise ' him 
for once falling a prey to it. I know far too well 
how exposed to it we all are ; how exposed to it I 
myself am. At this very moment, for example, I 



LAST WORDS. 9 

am fresh from reading Mr. Newman's reply to my 
lectures; a reply full of that erudition in which (as I 
am so often and so good-naturedly reminded, hut 
indeed I know it without heing reminded), Mr. 
Newman is immeasurably my superior. Well, the 
demon that pushes us all to our ruin is even now 
prompting me to follow Mr. Newman into a dis- 
cussion ahout the digamma, and I know not what 
providence holds me back. And some day, I have 
no doubt, I shall lecture on the language of the 
Berbers, and give him his entire revenge. 

But Mr. Newman does not confine himself to 
complaints on his own behalf, he complains on 
Homer's behalf too. He says that my i statements 
about Grreek literature are against the most notorious 
and elementary fact ' ; that I 'do a public wrong to 
literature by publishing them;' and that the Pro- 
fessors to whom I appealed in my three Lectures, 
* would only lose credit if they sanctioned the use 
I make of their names.' He does these eminent men 
the kindness of adding, however, that 'whether they 
are pleased with this parading of their names in 
behalf of paradoxical error, he may well doubt,' and 
that ' until they endorse it themselves, he shall treat 
my process as a piece of forgery.' He proceeds to 
discuss my statements at great length, and with an 
erudition and ingenuity which nobody can admire 
more than I do. And he ends by saying that my 
ignorance is great. 



10 OX TRANSLATING HOMER: 

Alas ! that is very true. Much as Mr. Newman 
was mistaken when he talked of my rancour, he is 
entirely right when he talks of my ignorance. And 
yet, perverse as it seems to say so, I sometimes find 
myself wishing, when dealing with these matters of 
poetical criticism, that my ignorance were even 
greater than it is. To handle these matters pro- 
perly there is needed a poise so perfect, that the 
least overweight in any direction tends to destroy 
the balance. Temper destroys it, a crotchet destroys 
it, even erudition may destroy it. To press to the 
sense of the thing itself with which one is dealing, 
not to go off on some collateral issue about the thing, 
is the hardest matter in the world. The ' thing 
itself ' with which one is here dealing, — the critical 
perception of poetic truth, — is of all things the most 
volatile, elusive, and evanescent; by even pressing 
too impetuously after it, one runs the risk of losing 
it. The critic of poetry should have the finest tact, 
the nicest moderation, the most free, flexible, and 
elastic spirit imaginable ; he should be indeed the 
' ondoyant et divers,' the undulating and diverse 
being of Montaigne. The less he can deal with his 
object simply and freely, the more things he has to 
take into account in dealing with it, — the more, in 
short, he has to encumber himself, — so much the 
greater force of spirit he needs to retain his elasticity. 
But one cannot exactly have this greater force by 
wishing for it ; so, for the force of spirit one has, the 



LAST WORDS. 11 

load put upon it is often heavier than it will well 
bear. The late Duke of Wellington said of a certain 
peer that e it was a great pity his education had been 
so far too much for his abilities.' In like manner, 
one often sees erudition out of all proportion to its 
owner's critical faculty. Little as I know, therefore, 
I am always apprehensive, in dealing with poetry, 
lest even that little should prove { too much for my 
abilities.' 

With this consciousness of my own lack of learn- 
ing, — nay, with this sort of acquiescence in it, with 
this belief that for the labourer in the field of 
poetical criticism learning has its disadvantages, — I 
am not likely to dispute with Mr. Newman about 
matters of erudition. All that he says on these 
matters in his Beply I read with great interest : in 
general I agree with him ; but only, I am sorry to 
say, up to a certain point. Like all learned men, 
accustomed to desire definite rules, he draws his 
conclusions too absolutely ; he wants to include too 
much under his rules; he does not quite perceive 
that in poetical criticism the shade, the fine dis- 
tinction, is everything ; and that, when he has once 
missed this, in all he says he is in truth but 
beating the air. For instance: because I think 
Homer noble, he imagines I must think him ele- 
gant ; and in fact he says in plain words that I do 
think him so, — that to me Homer seems ' per- 
vadingly elegant.' But he does not. Virgil is ele- 



12 OX TRANSLATING HOMER : 

gantj — ' pervadingly elegant,' — even in passages of 
the highest emotion : 

0, ubi campi, 

Sperelicosquo, ct virginibus bacchata Lacaenis 
Taygeta!* 

Even there Virgil, though of a divine elegance, is 
still elegant: but Homer is not elegant; the word 
is quite a wrong one to apply to him, and Mr. 
Newman is quite right in blaming any one he finds 
so applying it. Again ; arguing against my asser- 
tion that Homer is not quaint, he says : * It is 
quaint to call waves wet, milk white, blood dusky, 
horses single-hoofed, words winged, Vulcan Lohfoot 
(KoAAo7roS/wv), a spear longshadowy^ and so on. I 
find I know not how many distinctions to draw here. 
I do not think it quaint to call waves wet, or milk 
white, or words winged ; but I do think it quaint to 
call horses single-hoofed, or Vulcan Lohfoot, or a spear 
longshadowy. As to calling blood dusky, I do not 
feel quite sure ; I will tell Mr. Newman my opinion 
when I see the passage in which he calls it so. But 
then, again, because it is quaint to call Vulcan Lob- 
foot, I cannot admit that it was quaint to call him 
KwAAo7roS/«;v ; nor that, because it is quaint to call a 
spear longshadowy, it was quaint to call it SoXi^oVxjov. 
Here Mr. Newman's erudition misleads him : he 

* ' Oh for the fields of Thessaly and the streams of Spercheios ! 
Oh for the hills alive with the dances of the Laconian maidens, the 
hills of Taygetus ! ' — Georgics, ii. 486. 



LAST WORDS. 13 

knows the literal value of the Greek so well, that he 
thinks his literal rendering identical with the Greek, 
and that the Greek must stand or fall along with his 
rendering. But the real question is, not whether he 
has given us, so to speak, full change for the Greek, 
but hoiv he gives us our change : we want it in gold, 
and he gives it us in copper. Again : ' It is quaint,' 
says Mr. Newman, 'to address a young friend as 
"0 Pippin!" — it is quaint to compare Ajax to an 
ass whom boys are belabouring.' Here, too, Mr. 
Newman goes much too fast, and his category of 
quaintness is too comprehensive. To address a 
young friend as * Pippin ! ' is, I cordially agree 
with him, very quaint; although I do nob think it 
was quaint in Sarpedon to address Glaucus as a> ninoy : 
but in comparing, whether in Greek or in English, 
Ajax to an ass whom boys are belabouring, I do 
not see that there is of necessity anything quaint at 
all. Again ; because I said that eld, lief, in sooth, 
and other words, are, as Mr. Newman uses them 
in certain places, bad words, he imagines that I 
must mean to stamp these words with an absolute 
reprobation ; and because I said that l my Bibliolatry 
is excessive,' he imagines that I brand all words as 
ignoble which are not in the Bible. Nothing of the 
kind: there are no such absolute rules to be laid 
down in these matters. The Bible vocabulary is to 
be used as an assistance, not as an authority. Of 
the words which, placed where Mr. Newman places 



14 OX TRANSLATING HOMER: 

them, I have called bad words, every one may be 
excellent in some other place. Take eld, for in- 
stance : when Shakspeare, reproaching man with 
the dependence in which his youth is passed, 
says : 

all thy blessed youth 

Becomes as aged, and doth beg the alms 

Of palsied eld . . . 

it seems to me that eld comes in excellently there, 
in a passage of curious meditation ; but when Mr. 
Newman renders ayrjpco t abuvurco rs by ' from Eld 
and Death exempted,' it seems to me he infuses a 
tinge of quaintness into the transparent simplicity 
of Homer's expression, and so I call eld a bad word 
in that place. 

Once more. Mr. Newman lays it down as a 
general rule that 'many of Homer's energetic 
descriptions are expressed in coarse physical words.' 
He goes on : f I give one illustration — Tpaosg wpovTu- 
$ctv aoWess. Cowper, misled by the ignis fatuus 
of " stateliness," renders it absurdly : 

The powers of Ilium gave the first assault 
Embattled close ; 

but it is, strictly, " The Trojans knocked forivard 
(or, thumped, butted forward) in close pack? The 
verb is too coarse for later polished prose, and even 
the adjective is very strong (packed together). I 
believe, that " forward in pack the Trojans pitch'd," 
would not be really unfaithful to the Homeric 



LAST WORDS. 15 

colour; and I maintain, that "forward in mass the 
Trojans pitoh'd," would be an irreprovable render- 
ing.' He actually gives us all that as if it were a 
piece of scientific deduction ; and as if, at the end, 
he had arrived at an incontrovertible conclusion. 
But, in truth, one cannot settle these matters quite 
in this way. Mr. Newman's general rule may be 
true or false (I dislike to meddle with general rules), 
but every part in what follows must stand or fall 
by itself, and its soundness or unsoundness has 
nothing at all to do with the truth or falsehood of 
Mr. Newman's general rule. He first gives, as a 
strict rendering of the Greek, * The Trojans knocked 
forward (or, thumped, butted forward), in close 
pack.' I need not say that, as a ' strict rendering 
of the Greek,' this is good, — all Mr. Newman's 
'strict renderings of the Greek' are sure to be, as 
such, good; but 'in close pack,' for aoKk&ss, seems 
to me to be what Mr. Newman's renderings are not 
always, — an excellent 'poetical rendering of the 
Greek; a thousand times better, certainly, than 
Cowper's ' embattled close.' Well, but Mr. New- 
man goes on : ' I believe, that " forward in pack 
the Trojans pitch'd," would not be really unfaithful 
to the Homeric colour.' Here, I say, the Homeric 
colour is half washed out of Mr. Newman's happy 
rendering of aoXXds', while in 'pitch'd' for npovTvtyav, 
the literal fidelity of the first rendering is gone, 
while certainly no Homeric colour has come in its 



16 OX TRANSLATING HOMES: 

place. Finally, Mr. Newman concludes : ' I main- 
tain that "forward in mass the Trojans pitch'd," 
would be an irreprovable rendering.' Here, in what 
Mr. Newman fancies his final moment of triumph, 
Homeric colour and literal fidelity have alike aban- 
doned him altogether ; the last stage of his transla- 
tion is much worse than the second, and immeasur- 
ably worse than the first. 

All this to show that a looser, easier method than 
Mr. Newman's must be taken, if we are to arrive 
at any good result in these questions. I now go on 
to follow Mr. Newman a little further, not at all as 
wishing to dispute with him, but as seeking (and 
this is the true fruit we may gather from criticisms 
upon us) to gain hints from him for the establish- 
ment of some useful truth about our subject, even 
when I think him wrong. I still retain, I confess, 
my conviction that Homer's characteristic qualities 
are rapidity of movement, plainness of words and 
style, simplicity and directness of ideas, and, above 
all, nobleness, the grand manner. Whenever Mr. 
Newman drops a word, awakens a train of thought, 
which leads me to see any of these characteristics 
more clearly, I am grateful to him ; and one or two 
suggestions of this kind which he affords, are all that 
now, — having expressed my sorrow that he should 
have misconceived my feelings towards him, and 
pointed out what I think the vice of his method of 
criticism, — I have to notice in his Eeply. 



LAST WORDS. 17 

Such a suggestion I find in Mr. Newman's 
remarks on my assertion that the translator of 
Homer must not adopt a quaint and antiquated style 
in rendering him, because the impression which 
Homer makes upon the living scholar is not that of 
a poet quaint and antiquated, but that of a poet 
perfectly simple, perfectly intelligible. I added 
that we cannot, I confess, really know how Homer 
seemed to Sophocles, but that it is impossible to me 
to believe that he seemed to him quaint and anti- 
quated. Mr. Newman asserts, on the other hand, that 
I am absurdly wrong here ; that Homer seemed * out 
and out' quaint and antiquated to the Athenians ; that 
' every sentence of him was more or less antiquated 
to Sophocles, who could no more help feeling at 
every instant the foreign and antiquated character 
of the poetry, than an Englishman can help feeling 
the same in reading Burns's poems.' And not only 
does Mr. Newman say this, but he has managed 
thoroughly to convince some of his readers of it. 
'Homer's Greek,' says one of them, 'certainly 
seemed antiquated to the historical times of Greece. 
Mr. Newman, taking a far broader historical and 
philological view than Mr. Arnold, stoutly main- 
tains that it did seem so.' And another says: 
* Doubtless Homer's dialect and diction were as 
hard and obscure to a later Attic Grreek, as Chaucer 
to an Englishman of our day.' 

Mr. Newman goes on to say, that not only was 
c 



18 OX TRANSLATING HOMER: 

Homer antiquated relatively to Pericles, but he is 
antiquated to the living scholar ; and, indeed, is in 
himself 'absolutely antique, being the poet of a 
barbarian age.' He tells us of his 'inexhaustible 

quaintnesses,' of his 'very eccentric diction ;' and he 
infers, of course, that he is perfectly right in render- 
ing him in a quaint and antiquated style. 

Now this question, — whether or no Homer seemed 
quaint and antiquated to Sophocles, — I call a 
delightful question to raise. It is not a barren 
verbal dispute ; it is a question ' drenched in matter,' 
to use an expression of Bacon; a question full of 
flesh and blood, and of which the scrutiny, though 
I still think we cannot settle it absolutely, may yet 
give us a directly useful result. To scrutinise it 
may lead us to see more clearly what sort of a style 
a modern translator of Homer ought to adopt. 

Homer's verses were some of the first words which 
a young Athenian heard. He heard them from his 
mother or his nurse before he went to school ; and at 
school, when he went there, he was constantly occu- 
pied with them. So much did he hear of them that 
Socrates proposes, in the interests of morality, to 
have selections from Homer made, and placed in the 
hands of mothers and nurses, in his model republic ; 
in order that, of an author with whom they were 
sure to be so perpetually conversant, the young 
might learn only those parts which might do them 
good. His language was as familiar to Sophocles, 



LAST WORDS. 19 

we may be quite sure, as the language of the Bible 
is to us. 

Nay, more. Homer's language was not, of course, 
in the time of Sophocles, the spoken or written 
language of ordinary life, any more than the lan- 
guage of the Bible, any more than the language 
of poetry, is with us ; but for one great species of 
composition, — epic poetry, — it was still the current 
language; it was the language in which everyone 
who made that sort of poetry composed. Every one 
at Athens who dabbled in epic poetry, not only 
understood Homer's language, — he possessed it. He 
possessed it as every one who dabbles in poetry with 
us, possesses what may be called the poetical vocabu- 
lary, as distinguished from the vocabulary of com- 
mon speech and of modern prose: I mean, such 
expressions as 'perchance for perhaps, spjake for 
spoke, aye for ever, don for put on, channed for 
chained, and thousands of others. 

I might go to Burns and Chaucer, and taking 
words and passages from them, ask if they afforded 
any parallel to a language so familiar and so pos- 
sessed. But this I will not do, for Mr. Newman 
himself supplies me with what he thinks a fair 
parallel, in its effect upon us, to the language of 
Homer in its effect upon Sophocles. He says that 
such words as mon, londis, libbard, ivithouten, 
muchel, give us a tolerable but incomplete notion 
of this parallel ; and he finally exhibits the parallel 



20 ON TRANSLATING HOMKR : 

in all its clearness, by this poetical specimen: 

Dat. moil, quhicfa hauldeth Kyngis-af 

Londis yn Ko, niver 
(I tell 'e) feereth aught ; sith hoe 

Doth hauld hys londis yver. 

Now, does Mr. Newman really think that Sopho- 
cles could, as he says, ' no more help feeling at every 
instant the foreign and antiquated character of 
Homer, than an Englishman can help feeling the 
same in hearing ' these lines ? Is he quite sure of it ? 
He says he is ; he will not allow of any doubt or 
hesitation in the matter. I had confessed we could 
not really know how Homer seemed to Sophocles; — 
< Let Mr. Arnold confess for himself,' cries Mr. 
Newman, ' and not for me, who know perfectly well.' 
And this is what he knows ! 

Mr. Newman says, however, that I 'play falla- 
ciously on the words familiar and unfamiliar ;' that 
' Homer's words may have been familiar to the 
Athenians (i. e. often heard) even when they were 
either not understood by them, or else, being under- 
stood, were yet felt and known to be utterly foreign. 
Let my renderings,' he continues, ' be heard, as Pope 
or even Cowper has been heard, and no one will be 
" surprised." ' 

But the whole question is here. The translator 
must not assume that to have taken place which has 
not taken place, although, perhaps, he may wish it 
to have taken place, — namely, that his diction is 



LAST WORDS. 21 

become an established possession of the minds of 
men, and therefore is, in its proper place, familiar 
to them, Avill not 'surprise' them. If Homer's 
language was familiar, — that is, often heard, — then 
to this language words like londls and Ubbard, 
which are not familiar, offer, for the translator's 
purpose, no parallel. For some purpose of the 
philologer they may offer a parallel to it; for the 
translator's purpose they offer none. The question 
is not, whether a diction is antiquated for current 
speech, but whether it is antiquated for that par- 
ticular purpose for which it is employed. A diction 
that is antiquated for common speech and common 
prose, may very well not be antiquated for poetry 
or certain special kinds of prose. { Peradventure 
there shall be ten found there,' is not antiquated for 
Biblical prose, though for conversation or for a 
newspaper it is antiquated. ' The trumpet spake not 
to the armed throng,' is not antiquated for poetry, 
although we should not write in a letter, f he spake 
to me,' or say, 'the British soldier is armed with 
the Enfield rifle.' But when language is antiquated 
for that particular purpose for which it is employed, 
— as numbers of Chaucer's words, for instance, are 
antiquated for poetry, — such language is a bad 
representative of language which, like Homer's, was 
never antiquated for that particular purpose for 
which it was employed. I imagine that nr]A>)VaS=w 
for ILj As i'Sou, in Homer, no more sounded antiquated 
c 3 



22 ON TRANSLATING HOMER: 

to Sophocles than a/rmid for arm''':, in Milton, sounds 
antiquated to us; but Mr. Newman's withouten and 
muchel do sound to us antiquated, even for poetry, 
and therefore they do not correspond in their effect 
upon us with Homer's words in their effect upon 
Sophocles. When Chaucer, who uses such words, is 
to pass current amongst us, to be familiar to us, as 
Homer was familiar to the Athenians, he has to be 
modernised, as Wordsworth and others set to work 
to modernise him ; but an Athenian no more needed 
to have Homer modernised, than we need to have 
the Bible modernised, or Wordsworth himself. 

Therefore, when Mr. Newman's words bragly, 
bulkin, and the rest, are an established possession of 
our minds, as Homer's words were an established 
possession of an Athenian's mind, he may use them ; 
but not till then. Chaucer's words, the words of 
Burns, great poets as these were, are yet not thus 
an established possession of an Englishman's mind, 
and therefore they must not be used in rendering 
Homer into English. 

Mr. Newman has been misled just by doing that 
which his admirer praises him for doing, by taking a 
* far broader historical and philological view than ' 
mine. Precisely because he has done this, and has 
applied the ' philological view ' where it was not 
applicable, but where the c poetical view ' alone was 
rightly applicable, he has fallen into error. 

It is the same with him in his remarks on the 



LAST WORDS. 23 

difficulty and obscurity of Homer. Homer, I say, is 
perfectly plain in speech, simple, and intelligible. 
And I infer from tins that bis translator, too, ought 
to be perfectly plain in speech, simple, and intelli- 
gible ; ought not to say, for instance, in rendering 

Oitre ne <re (TTeAXoi/UI ,"aX'?' / & icuStdueipav . . . 

' Nor liefly thee would I advance to man-ennobling 
battle,' — and things of that kind. Mr. Newman 
hands me a list of some twenty hard words, invokes 
Buttman, Mr. Maiden, and M. Benfey, and asks me 
if I think myself wiser than all the world of Greek 
scholars, and if I am ready to supply the deficiencies 
of Liddell and Scott's Lexicon ! But here, again, Mr. 
Newman errs by not perceiving that the question is 
one not of scholarship, but of a poetical translation 
of Homer. This, I say, should be perfectly simple 
and intelligible. He replies by telling me that uotvbs, 
sJXwro&es, and <nya\osis are hard words. Well, but 
what does he infer from that? That the poetical 
translator, in his rendering of them, is to give us a 
sense of the difficulties of the scholar, and so is to 
make his translation obscure ? If he does not mean 
that, how, by bringing- forward these hard words, 
does he touch the question whether an English ver- 
sion of Homer should be plain or not plain? If 
Homer's poetry, as poetry, is in its general effect on 
the poetical reader perfectly simple and intelligible, 
the uncertainty of the scholar about the true mean- 
ing of certain words can never change this general 
c 4 



24 ON TRANSLATING HOMER : 

effect. Rather will the poetry of Homer make us 
forget his philology, than his philology make us forget 
his poetry. It may even be affirmed that every one 
who reads Homer perpetually for the sake of enjoy- 
ing his poetry (and no one who does not so read 
him will ever translate him well), comes at last to 
form a perfectly clear sense in his own mind for 
every important word in Homer, such as ulivos, or 
YjklgxTos, whatever the scholar's doubts about the 
word may be. And this sense is present to his mind 
with perfect clearness and fulness, whenever the 
word recurs, although as a scholar he may know that 
he cannot be sure whether this sense is the right one 
or not. But poetically he feels clearly about the 
word, although philologically he may not. The 
scholar in him may hesitate, like the father in She- 
ridan's play; but the reader of poetry in him is, 
like the governor, fixed. The same thing happens to 
us with our own language. How many words occur 
in the Bible, for instance, to which thousands of 
hearers do not feel sure they attach the precise real 
meaning ; but they make out a meaning for them 
out of what materials they have at hand; and the 
words, heard over and over again, come to convey 
this meaning with a certainty which poetically is 
adequate, though not philologically. How many have 
attached a clear and poetically adequate sense to 
' the beam ' and ' the mote,' though not precisely the 
right one ! How clearly, again, have readers got a 



LAST WORDS. 25 

sense from Milton's words, ' grate on their scrannel 
pipes,' who yet might have been puzzled to write a 
commentary on the word scrannel for the dictionary! 
So we get a clear sense from atiivos as an epithet for 
grief, after often meeting with it and finding out all 
we can about it, even though that all be philolo- 
gically insufficient: so we get a clear sense from eiKl- 
%o$ss as an epithet for cows. And this his clear 
poetical sense about the words, not his philological 
uncertainties about them, is what the translator has 
to convey. Words like bragly and bulhin offer no 
parallel to these words; because the reader, from 
his entire want of familiarity with the words bragly 
and bulhin, has no clear sense of them poetically. 

Perplexed by his knowledge of the philological 
aspect of Homer's language, encumbered by his own 
learning, Mr. Newman, I say, misses the poetical 
aspect, misses that with which alone we are here 
concerned. ' Homer is odd,' he persists, fixing his 
eyes on his own philological analysis of [j-wvvz-, and 
ju-s/jovj/y, and KyAAo7ro8<W, and not on these words in 
their synthetic character;- — just as Professor Max 
Miiller, going a little farther back, and fixing his 
attention on the elementary value of the word SvyotTYiq, 
might say Homer was i odd ' for using that word ; — 
* if the whole Greek nation, by long familiarity, had 
become inobservant of Homer's oddities,' — of the 
oddities of this ' noble barbarian,' as Mr. Newman 
elsewhere calls him, this i noble barbarian ' with the 



2G OX TRANSLATING HOMER : 

' lively eye of the savage,' — 'that would be no fault 
of mine. That would not justify Mr. Arnold's blame 
of me for rendering the words correctly.' Correctly 
— ah, but what is correctness in tbis case? This 
correctness of his is the very rock on which Mr. 
Newman has split. He is so correct that at last he 
finds peculiarity everywhere. The true knowledge 
of Homer becomes at last, in his eyes, a knowledge 
of Homer's ' peculiarities, pleasant and unpleasant.' 
Learned men know these e peculiarities,' and Homer 
is to be translated because the unlearned are im- 
patient to know them too. ' That,' he exclaims, ' is 
just why people want to read an English Homer, — 
to knoiv all his oddities, just as learned onen do.' 
Here I am obliged to shake my head, and to declare 
that, in spite of all my respect for Mr. Newman, I 
cannot go these lengths with him. He talks of my 
e monomaniac fancy that there is nothing quaint or 
antique in Homer.' Terrible learning, — I cannot 
help in my turn exclaiming, — terrible learning, 
which discovers so much ! 

Here, then, I take my leave of Mr. Newman, 
retaining my opinion that his version of Homer is 
spoiled by his making Homer odd and ignoble ; but 
having, I hope, sufficient love for literature to be 
able to canvass works without thinking of persons, 
and to hold this or that production cheap, while 
retaining a sincere respect, on other grounds, for its 
author. 

In fulfilment of my promise to take this oppor- 



LAST WORDS. 27 

timity for giving the translator of Homer a little 
further advice, I proceed to notice one or two other 
criticisms which I find, in like manner, suggest/we; 
which give us an opportunity, that is, of seeing more 
clearly, as we look into them, the true principles 
on which translation of Homer should rest. This is 
all I seek in criticisms; and perhaps (as I have 
already said) it is only as one seeks a positive result 
of this kind, that one can get any fruit from them. 
Seeking a negative result from them, — personal 
altercation and wrangling, — one gets no fruit; seek- 
ing a positive result, — the elucidation and esta- 
blishment of one's ideas, — one may get much. Even 
bad criticisms may thus be made suggestive and 
fruitful. I declared, in a former lecture on this 
subject, my conviction that criticism is not the 
strong point of our national literature. Well, even 
the bad criticisms on our present topic which I 
meet with, serve to illustrate this conviction for me. 
And thus one is enabled, even in reading remarks 
which for Homeric criticism, for their immediate 
subject, have no value, — which are far too personal 
in spirit, far too immoderate in temper, and far 
too heavy-handed in style, for the delicate matter 
they have to treat, — still to gain light and confir- 
mation for a serious idea, and to follow the Ba- 
conian injunction, semper aliquid addiscere, always 
to be adding to one's stock of observation and 
knowledge. Yes, even when we have to do with 
writers who, — to quote the words of an exquisite 



28 ON TRANSLATING HOMER: 

critic, the master of us all in criticism, M. Sainte 
Beuve, — remind us, when they handle such subjects 
as our present, of * Eomans of the fourth or fifth cen- 
tury, coming to hold forth, all at random, in African 
style, on papers found in the desk of Augustus, 
Maecenas, or Pollio,' — even then we may instruct our- 
selves if we regard ideas and not persons ; even then 
we may enable ourselves to say, with the same critic 
describing the effect made upon him by D'Argenson's 
Memoirs : ' My taste is revolted, but I learn some- 
thing ; — Je suis choque, metis je suis instruiV 

But let us pass to criticisms which are suggestive 
directly and not thus indirectly only ; criticisms by 
examining which we may be brought nearer to what 
immediately interests us, — the right way of trans- 
lating Homer. 

I said that Homer did not rise and sink with his 
subject, was never to be called prosaic and low. 
This gives surprise to many persons, who object that 
parts of the Iliad are certainly pitched lower than 
others, and who remind me of a number of absolutely 
level passages in Homer. But I never denied that a 
subject must rise and sink, that it must have its ele- 
vated and its level regions ; all I deny is, that a poet 
can be said to rise and sink when all that he, as a 
poet, can do, is perfectly well done ; when he is per- 
fectly sound and good, that is, perfect as a poet, in 
the level regions of his subject as well as in its 
elevated regions. Indeed, what distinguishes the 



LAST WORDS. 29 

greatest masters of poetry from all others is, that 
they are perfectly sound and poetical in these level 
regions of their subject ; in these regions which 
are the great difficulty of all poets but the very 
greatest, which they never quite know what to do 
with. A poet may sink in these regions by being 
falsely grand as well as by being low ; he sinks, in 
short, whenever he does not treat his matter, what- 
ever it is, in a perfectly good and poetic way. But, 
so long as he treats it in this way, he cannot be said 
to sink, whatever his matter may do. A passage of 
the simplest narrative is quoted to me from Homer :* 

Hrpwev 8e %KQUrrov iiroixd/J-wos eirie(T<nv, 

MeffdA-qu T€, TAavKov re, Me'Sovra Te, QepffiAox^v re . . . 

and I am asked, whether Homer does not sink there ; 
whether he c can have intended such lines as those 
for poetry ? ' My answer is : Those lines are very 
good poetry indeed, poetry of the best class, in that 
place. But when Wordsworth, having to narrate a 
very plain matter, tries not to sink in narrating it, 
tries, in short, to be what is falsely called poetical, 
he does sink, although he sinks by being pompous, 
not by being low. 

Onward \re drore beneath the Castle ; caught, 
"While crossing Magdalen Bridge, a glimpse of Cam, 
And at the Hoop alighted, famous inn. 

That last line shows excellently how a poet may sink 

with his subject by resolving not to sink with it. A 

* Iliad, rvii. 216. 



:30 OX TRANSLATING HOMER : 

page or two further on, the subject rises to grandeur, 
and tin 'ii Wordsworth is nobly Avorthy of it: 

The antechapel, where the statue stood 
Of Newton with his prism and silent face, 
The marble index of a mind for ever 
Voyaging through strange seas of thought, alone. 

But the supreme poet is he who is thoroughly souncP 
and poetical, alike when his subject is grand, and 
when it is plain : with him the subject may sink, 
but never the poet. 

But a Dutch painter does not rise and sink with 
his subject, — Defoe, in Moll Flanders, does not rise 
and sink with his subject, — in so far as an artist 
cannot be said to sink who is sound in his treatment 
of his subject, however plain it is : yet Defoe, yet a 
Dutch painter, may in one sense be said to sink 
with their subject, because, though sound in their 
treatment of it, they are not poetical, — poetical in 
the true, not the false sense of the word ; because, in 
fact, they are not in the grand style. Homer can in\ 
no sense be said to sink with his subject, because his 
soundness has something more than literal natural- 
ness about it ; because his soundness is the soundness 
of Homer, of a great epic poet ; because, in fact, he 
is in the grand style. So he sheds over the simplest 
matter he touches the charm of his grand manner^/ 
he makes everything noble. Nothing has raised 
more questioning among my critics than these words, 
— noble, the grand style. People complain that I 



LAST WORDS. 31 

do not define these words sufficiently, that I do not 
tell them enough about them. ' The grand style, — 
but what is the grand style ?' — they cry ; some with 
an inclination to believe in it, but puzzled ; others 
mockingly and with incredulity. Alas ! the grand 
style is the last matter in the world for verbal 
definition to deal with adequately. One may say of 
it as is said of faith : ' One must feel it in order to 
know what it is.' But, as of faith, so too one may 
say of nobleness, of the grand style : ' Woe to those 
who know it not ! ' Yet this expression, though in- 
definable, has a charm ; one is the better for consider- 
ing it ; bonum est, nos hie esse ; nay, one loves to 
try to explain it, though one knows that one must 
speak imperfectly. For those, then, who ask the 
question, — What is the grand style ? — with sincerity, 
I will try to make some answer, inadequate as it must 
be. For those who ask it mockingly I have no 
answer, except to repeat to them, with compassionate 
sorrow, the Gospel words: Moriemini in veccatis 
vestris, — Ye shall die in your sins. 

But let me, at any rate, have the pleasure of 
again giving, before I begin to try and define the 
grand style, a specimen of what it is : 

Standing on earth, not rapt above the pole, 
• More safe I sing with mortal voice, unchanged 
To hoarse or mute, though fall'n on evil days, 
On evil days though fall'n, and evil tongues . . . 

There is the grand style in perfection ; and any one 



32 OX TRANSLATING HOMES : 

who has a sense for it, will feel it a thousand times 
better from repeating those lines than from hearing 
anything I can say about it. 

Let us try, however, what can be said, controlling 
what we say by examples. I think it will be found 
that the grand style arises in poetry, ivhen a noble 
nature, 'poetically gifted, treats ivith simplicit y or 
tvith severity a serious subject. I think this defini- 
tion will be found to cover all instances of the grand 
style in poetry which present themselves. I think 
it will be found to exclude all poetry which is not in 
the grand style. And I think it contains no terms 
which are obscure, which themselves need defining. 
Even those who do not understand what is meant by 
calling poetry noble, will understand, I imagine, 
what is meant by speaking of a noble nature in a 
man. But the noble or powerful nature, — the bedeu- 
tendes individuum of Cfoethe, — is not enough. For 
instance, Mr. Newman has zeal for learning, zeal for 
thinking, zeal for liberty, and all these things are 
noble, they ennoble a man ; but he has not the 
poetical gift: there must be the poetical gift, the 
'divine faculty,' also. And, besides all this, the 
subject must be a serious one (for it is only by a 
kind of license that we can speak of the grand style 
in comedy) ; and it must be treated with simplicity 
or severity. Here is the great difficulty : the poets^ 
of the world have been many ; there has been want- 
ing neither abundance of poetical gift nor abundance 



LAST WORDS. 33 

of noble natures ; but a poetical gift so happy, in a 
noble nature so circumstanced and trained, that the 
result is a continuous style, perfect in simplicity or 
perfect in severity, has been extremely rare. One 
poet has had the gifts of nature and faculty in un- 
equalled fulness, without the circumstances and 
training which make this sustained perfection of 
style possible. Of other poets, some have caught 
this perfect strain now and then, in short pieces or 
single lines, but have not been able to maintain it 
through considerable works ; others have composed 
all their productions in a style which, by comparison 
with the best, one must call secondary. 

The best model of the grand style simple is 
Homer ; perhaps the best model of the grand style 
severe is Milton. But Dante is remarkable for 
affording admirable examples of both styles ; he has 
the grand style which arises from simplicity, and he 
has the grand style which arises from severity ; and 
from him I will illustrate them both. In a former 
lecture I pointed out what that severity of poetical 
style is, which comes from saying a thing with a 
kind of intense compression, or in an allusive, brief, 
almost haughty way, as if the poet's mind were 
charged with so many and such grave matters, that 
he would not deign to treat any one of them ex- 
plicitly. Of this severity the last line of the fol- 
lowing stanza of the Purgatory is a good example. 
Dante has been telling Forese that Virgil had guided 

D 



34 ON TRANSLATING HOMER : 

him through Hell, and he goes on : * 

Indi m' hail tratto su gli suoi couforti, 
Salcndo c rigir.-imlo l.i Montagna 
Che drizza vol chc il mondofcce turd. 

1 Thence hath his comforting aid led me up, climbing 
and circling the Mountain which straightens you 
whom the world made, crooked.'' These last words, 
' la Montagna che drizza vol che il mondo fece tortij 
— 'the Mountain which straightens you, whom the 
world made crooked,' — for the Mountain of Purga- 
tory, I call an excellent specimen of the grand style 
in severity, where the poet's mind is too full charged 
to suffer him to speak more explicitly. But the 
very next stanza is a beautiful specimen of the grand 
style in simplicity, where a noble nature and a poet- 
ical gift unite to utter a thing with the most limpid 
plainness and clearness : f 

Tanto dice di farmi sua compagna 
Ch' io saro la dove fia Beatrice ; 
Quiyi convien che senza lui riniagna. 

'So long,' Dante continues, 'so long he (Virgil) 
saith he will bear me company, until I shall be 
there where Beatrice is ; there it behoves that with- 
out him I remain.' But the noble simplicity of that 
in the Italian no words of mine can render. 

Both these styles, the simple and the severe, are 
truly grand ; the severe seems, perhaps, the grandest, 
so long as we attend most to the great personality, 
* Purgatory, xxiii. 124. f Ibid., xxiii. 127. 



LAST WOEDS. 35 

to the noble nature, in the poet its author; the 
simple seems the grandest when we attend most to 
the exquisite faculty, to the poetical gift. But the 
simple is no doubt to be preferred. It is the more 
magical: in the other there is something intel- 
lectual, something which gives scope for a play of 
thought which may exist where the poetical gift is 
either wanting or present in only inferior degree: 
the severe is much more imitable, and this a little 
spoils its charm. A kind of semblance of this style 
keeps Young going, one may say, through all the 
nine parts of that most indifferent production, the 
Night Thoughts. But the grand style in simplicity 
is inimitable : 

ai&e acrcpa\rt\s 
ovk efyeVT' oi/t' AlaiclSq Trapa ITTjAe?, 
ovre irap' avrideui KaS/xca ■ \4yomai fxav fiporwv 
6\/3ov vntpTarov ol ffX e ^"i °1 T€ Ka ^- XP v(Ta l x ' K ^ K(ev 
/j.e\iro/J.evai> iv opei Moktcw, Kal eV enTairvAois 
aiov @T)§ais. . . .* 

There is a limpidness in that, a want of salient 
points to seize and transfer, which makes imitation 
impossible, except by a genius akin to the genius 
which produced it. 

Greek simplicity and Greek grace are inimitable;^ 
but it is said that the Iliad may still be ballad-poetry 

* ' A secure time fell to the lot neither of Peleus the sou of iEacus, 
nor of the god-like Cadmus ; howbeit these are said to have had, 
of all mortals, the supreme of happiness, who heard the golden- 
snooded Muses sing, one of them on the mountain (Pelion), the 
other in seven-gated Thebes.' 

D 2 



36 ON TBAUBLATING BOMEB : 

while infinitely superior to all other ballads, and 
that, in my specimens of Engli.^h ballad-poetry, I 
have been unfair. Well, no doubt there are better 
things in English ballad-poetry than 

Now Christ thee save, thou proud porter . . . 

but the real strength of a chain, they say, is the 
strength of its weakest link ; and what I was trying 
to show you was, that the English ballad-style is not 
an instrument of enough compass and force to cor- 
respond to the Grreek hexameter ; that, owing to an 
inherent weakness in it as an epic style, it easily 
runs into one of two faults, — either it is prosaic and 
humdrum, or, trying to avoid that fault, and to 
make itself lively (se /aire vif), it becomes pert and 
jaunty. To show that, the passage about King 
Adland's porter serves very well. But these degra- 
dations are not proper to a true epic instrument, 
such as the Grreek hexameter. 

You may say, if you like, when you find Homer's 
verse, even in describing the plainest matter, neither 
humdrum nor jaunty, that this is because he is so 
incomparably better a poet than other balladists, 
because he is Homer. But take the whole range 
of Greek epic poetry, — take the later poets, the 
poets of the last ages of this poetry, many of them 
most indifferent, — Coluthus, Tryphiodorus, Quintus 
of Smyrna, Nonnus. Never will you find in this 
instrument of the hexameter, even in their hands, 



LAST WORDS. 37 

the vices of the ballad-style in the weak moments 
of this last: everywhere the hexameter, — a noble, 
a truly epical instrument, — rather resists the weak- 
ness of its employer than lends itself to it. Quintus 
of Smyrna is a poet of merit, but certainly not a 
poet of a high order ; with him, too, epic poetry, 
whether in the character of its prosody or in that 
of its diction, is no longer the epic poetry of earlier 
and better times, nor epic poetry as again restored 
by Nonnus : but even in Quintus of Smyrna, I say, 
the hexameter is still the hexameter ; it is a style 
which the ballad-style, even in the hands of better 
poets, cannot rival. And in the hands of inferior 
poets, the ballad-style sinks to vices of which the 
hexameter, even in the hands of a Tryphiodorus, 
never can become guilty. 

But a critic, whom it is impossible to read with- 
out pleasure, and the disguise of whose initials I am 
sure I may be allowed to penetrate, — Mr. Spedding, 
■ — says that he ' denies altogether that the metrical 
movement of the English hexameter has any resem- 
blance to that of the Greek.' Of course, in that 
case, if the two metres in no respect correspond, 
praise accorded to the Greek hexameter as an epical 
instrument will not extend to the English. Mr. 
Spedding seeks to establish his proposition by point- 
ing out that the system of accentuation differs in the 
English and in the Virgilian hexameter ; that in the 
first, the accent and the long syllable (or what has 

D 3 



38 OX TRANSLATING IIO.MKR: 

to do duty as such) coincide, in the second they do 
not. He says that we cannot be so sure of the 
accent with which Greek verse should be read as of 
that with which Latin should; but that the lines 
of Homer in which the accent and the long syllable 
coincide as in the English hexameter, are certainly 
very rare. He suggests a type of English hexameter 
in agreement with the Virgilian model, and formed 
on the supposition that ( quantity is as distinguish- 
able in English as in Latin or Greek by any ear 
that will attend to it.' Of the truth of this supposi- 
tion he entertains no doubt. The new hexameter 
will, Mr. Spedding thinks, at least have the merit 
of resembling, in its metrical movement, the clas- 
sical hexameter, which merit the ordinary English 
hexameter has not. But even with this improved 
hexameter he is not satisfied ; and he goes on, first 
to suggest other metres for rendering Homer, and 
finally to suggest that rendering Homer is impossible. 
A scholar to whom all who admire Lucretius owe a 
large debt of gratitude, — Mr. Munro, — has replied 
to Mr. Spedding. Mr. Munro declares that e the 
accent of the old Greeks and Eomans resembled our 
accent only in name, in reality was essentially 
different;' that ' our English reading of Homer and 
Virgil has in itself no meaning ; ' and that i accent has 
nothing to do with the Virgilian hexameter.' If this 
be so, of course the merit which Mr. Spedding at- 
tributes to his own hexameter, of really corresponding 



LAST WORDS. 39 

with the Virgilian hexameter, has no existence. 
Again ; in contradiction to Mr. Spedding's assertion 
that lines in which (in our reading of them) the 
accent and the long syllable coincide,* as in the or- 
dinary English hexameter, are 'rare even in Homer,' 
Mr. Munro declares that such lines, 'instead of 
being rare, are among the very commonest types 
of Homeric rhythm.' Mr. Spedding asserts that 
'quantity is as distinguishable in English as in Latin 
or Greek by any ear that will attend to it ; ' but Mr. 
Munro replies, that in English ' neither his ear nor 
his reason recognises any real distinction of quantity 
except that which is produced by accentuated and 
unaccentuated syllables.' He therefore arrives at the 
conclusion, that in constructing English hexameters, 
'quantity must be utterly discarded; and longer or 
shorter unaccentuated syllables can have no meaning, 
except so far as they may be made to produce 
sweeter or harsher sounds in the hands of a master.' 
, It is not for me to interpose between two such 
combatants; and indeed my way lies, not up the 
high-road where they are contending, but along a by- 
path. With the absolute truth of their general pro- 
positions respecting accent and quantity, I have 
nothing to do ; it is most interesting and instructive 
to me to hear such propositions discussed, when it is 
Mr. Munro or Mr. Spedding who discusses them ; but 

* Lines such as the first of the Odyssey : 

"AvSpa noi evveire, MoD<ra, iroAvrpcnrov, bs jxaAa 7roXAa . . . 
D 4 



40 OX TRANSLATING HOMER: 

I have strictly limited myself in these Lectures to the 
humble function of giving practical advice to the 
translator of Homer. He, I still think, must not 
follow so confidently, as makers of English hexame- 
ters have hitherto followed, Mr. Munro's maxim, — 
quantity may be utterly discarded. He must not, 
like Mr. Longfellow, make seventeen a dactyl in spite 
of all the length of its last syllable, even though he 
can plead that in counting we lay the accent on the 
first syllable of this word. He may be far from at- 
taining Mr. Spedding's nicety of ear ; — may be unable 
to feel that e while quantity is a dactyl, quiddity is a 
tribrach,' and that ' rapidly is a word to which we 
find no parallel in Latin ; ' — but I think he must bring 
himself to distinguish, with Mr. Spedding, between 
' th'o'erwe&iied eyelid,' and ' the wearied eyelid,' as 
being, the one a correct ending for an hexameter, the 
other an ending with a false quantity in it ; instead 
of finding, with Mr. Munro, that this distinction 
' conveys to his mind no intelligible idea.' He must 
temper his belief in Mr. Munro's dictum, — quan- 
tity must be utterly discarded, — by mixing with it a 
belief in this other dictum of the same author, — two 
or more consonants take longer time in enunciating 
than one* 

* Substantially, however, in the question at issue between Mr. 
Munro and Mr. Spedding, I agree with Mr. Munro. By the italicised 
words in the following sentence, 'The rhythm of the Virgilian 
hexameter depends entirely on casura, pause, and a due arrangement 
of words,' he has touched, it seems to me, in the constitution of this 



LAST WORDS. 41 

Criticism is so apt in general to be vague and im- 
palpable, that w.hen it gives us a solid and definite 
possession, such as is Mr. Spedding's parallel of the 
Virgilian and the English hexameter with their dif- 
ference of accentuation distinctly marked, we cannot 
be too grateful to it. It is in the way in which Mr. 
Spedding proceeds to press his conclusions from the 
parallel which he has drawn out, that his criticism 
seems to me to come a little short. Here even he, 
I think, shows (if he will allow me to say so) a 
little of that want of pliancy and suppleness so 
common among critics, but so dangerous to their 
criticism ; he is a little too absolute in imposing his 
metrical laws, he too much forgets the excellent maxim 
of Menander, so applicable to literary criticism : 

KaXbv ol vS/xoi o~<p6b'p'' elaiw 6 8' bpoov tovs pdfxovs 
Xiav aitpifioos, <TvK0(p&VT7}S (palverat • 

hexameter, the central point, which Mr. Spedding misses. The 
accent, or heightened tone, of Virgil in reading his own hexameters, 
was probably far from being the same thing as the accent or stress 
with which we read them. The general effect of each line, in Virgil's 
mouth, was probably therefore something widely different from 
what Mr. Spedding assumes it to have been : an ancient's accentual 
reading was something which allowed the metrical beat of the Latin 
line to be far more perceptible than our accentual reading allows 
it to be. 

On the question as to the real rhythm of the ancient hexameter, 
Mr. Newman has in his Reply a page quite admirable for force and 
precision. Here he is in his element, and his ability and acuteness 
have their proper scope. But it is true that the modern reaching of 
the ancient hexameter is what the modern hexameter has to imitate, 
and that the English reading of the Virgilian hexameter is as Mr. 
Spedding describes it. "Why this reading has not been imitated by 
the English hexameter, I have tried to point out in the text. 



42 OX TRANSLATING HOMER : 

Maws are admirable things; but he who keeps his 1 
eye too closely fixed upon them, runs the risk of be- 
coming' — let us say, a purist. Mr. Spedding is 
probably mistaken in supposing that Virgil pro- 
nounced bis hexameters as Mr. Spedding pronounces 
them. He is almost certainly mistaken in suppos- 
ing that Homer pronounced bis bexameters as Mr. 
Spedding pronounces Virgil's. But this, as I have 
said, is not a question for us to treat ; all we are 
bere concerned witb is the imitation, by the Englisb 
hexameter, of the ancient hexameter in its effect upon 
us moderns. Suppose we concede to Mr. Spedding 
that his parallel proves our accentuation of the English 
and of the Virgilian hexameter to be different : what 
are we to conclude from that ; how will a criticism, 
— not a formal, but a substantial criticism, — deal 
with such a fact as that ? Will it infer, as Mr. Sped- 
ding infers, that the English hexameter, therefore, 
must not pretend to reproduce better than other 
rhythms the movement of Homer's hexameter for 
us ; that there can be no correspondence at all 
between the movement of these two hexameters; 
that, if we want to have such a correspondence, we 
must abandon the current English hexameter alto- 
gether, and adopt in its place a new hexameter of 
Mr. Spedding's Anglo-Latin type; substitute for 
lines like the 

Clearly the rest I behold of the dark-eyed sous of Achaia . . . 
of Dr. Hawtrey, lines like the 



LAST WORDS. 43 

Procession, complex melodies, pause, quantity, accent, 
After Virgilian precedent and practice, in order . . . 

of Mr. Speckling ? To infer this, is to go, as I have 
complained of Mr. Newman for sometimes going, a 
great deal too fast. I think prudent criticism must 
certainly recognise, in the current English hexame- 
ter, a fact which cannot so lightly be set aside ; it 
must acknowledge that by this hexameter the English 
ear, the genius of the English language, have, in 
their own way, adopted, have translated for them- 
selves the Homeric hexameter ; and that a rhythm 
which has thus grown up, which is thus, in a manner, 
the production of nature, has in its general type 
something necessary and inevitable, something which 
admits change only within narrow limits, which pre- 
cludes change that is sweeping and essential. I 
think, therefore, the prudent critic will regard Mr. 
Spedding's proposed revolution as simply impractic- 
able. He will feel that in English poetry the hexameter, 
if used at all, must be, in the main, the English 
hexameter now current. He will perceive that its 
having come into existence as the representative of 
the Homeric hexameter, proves it to have, for the 
English ear, a certain correspondence with the Ho- 
meric hexameter, although this correspondence may 
be, from the difference of the Greek and English 
languages, necessarily incomplete. This incomplete- 
ness he will endeavour*, as he may find or fancy him- 

* Such a minor change I have attempted by occasionally shifting, 



44 OX TRANSLATING HOMER: 

self able, gradually somewhal to lessen I trough minor 
changes, suggested by the ancient hexameter, but 
respecting the general constitution of the modern : 
the notion of making it disappear altogether by 

the critic's inventing in his closet a new constitution 

in the first foot of the hexameter, the accent from the first syllable 
to the second. In the current English hexameter it is on the first. 
Mr. Spedding, who proposes radically to subvert the constitution of 
this hexameter, seems not to understand that any one can propose 
to modify it partially; he can comprehend revolution in this metre, 
but not reform. Accordingly he asks me how I can bring myself to 
say ' between that and the ships,' or ' There sate fifty men ; ' or how 
I can reconcile such forcing of the accent with my own rule, that 
' hexameters must read themselves.' Presently he says that he 
cannot believe I do pronounce these words so, but that he thinks I 
leave out the accent in the first foot altogether, and thus get an 
hexameter with only five accents. He will pardon me : I pronounce, 
as I suppose he himself does, if he reads the words naturally, 
' Between that and the ships,' and ' There sate fifty men.' Mr. 
Spedding is familiar enough with this accent on the second syllable 
in Virgil's hexameters; in 'Et te montosa,' or 'Veloces jaculo.' 
Such a change is an attempt to relieve the monotony of the current 
English hexameter by occasionally altering the position of one of its 
accents ; it is not an attempt to make a wholly new English hexa- 
meter by habitually altering the position of four of them. Very 
likely it ' is an unsuccessful attempt ; but at any rate it does not 
violate what I think is the fundamental rule for English hexameters, — 
that they be such as to read themselves, without necessitating, on the 
reader's part, any non-natural putting-on or taking-off of accent. 
Hexameters like these of Mr. Longfellow, 

In that delightful land which is washed by the Delaware's waters . . . 
and, 

As if they fain would appease the Dryads, whose haunts they mo- 
lested . . . 

violate this rule ; and they are very common. I think the blemish 
of Mr. Dart's recent meritorious version of the Hiad is that it 
contains too many of them. 



LAST WORDS. 45 

of his own for the English hexameter, he will judge 
to be a chimerical dream. 

When, therefore, Mr. Spedding objects to the 
English hexameter that it imperfectly represents the 
movement of the ancient hexameter, I answer : We 
must work with the tools we have. The received 
English type, in its general outlines, is, for England, 
the necessary given type of this metre ; it is by ren- 
dering the metrical beat of its pattern, not by 
rendering the accentual beat of it, that the English 
language has adapted the Greek hexameter. To 
render the metrical beat of its pattern is something ; 
by effecting so much as this the English hexameter 
puts itself in closer relations with its original, it 
comes nearer to its movement, than any other metre 
which does not even effect so much as this ; but Mr. 
Spedding is dissatisfied with it for not effecting more 
still, for not rendering the accentual beat too. If he 
asks me ivhy the English hexameter has not tried 
to render this too, why it has confined itself to 
rendering the metrical beat, why, in short, it is 
itself, and not Mr. Spedding's new hexameter, — 
that is a question which I, whose only business is to 
give practical advice to a translator, am not bound 
to answer ; but I will not decline to answer it never- 
theless. I will suggest to Mr. Spedding that, as I 
have already said, the modern hexameter is merely 
an attempt to imitate the effect of the ancient hexa- 
meter, as read by us moderns ; that the great object 



46 OX TRANSLATING HOMEB : 

of its imitation has been the hexameter of Homer ; 
that of this hexameter such lines as those which Mr. 
Speckling declares to be so rare, even in Homer, but 
which are in truth so common, — lines in which the 
quantity and the reader's accent coincide, — are, for 
the English reader, just from that simplicity (for 
him) of rhythm which they owe to this very coinci- 
dence, the master -type ; that so much is this the 
case, that one may again and again notice an English 
reader of Homer, in reading lines where his Virgilian 
accent would not coincide with the quantity, aban- 
doning this accent, and reading the lines (as we say) 
by quantity, reading them as if he were scanning 
them ; while foreigners neglect our Virgilian accent 
even in reading Virgil, read even Virgil by quantity, 
making the accents coincide with the long syllables. 
And no doubt the hexameter of a kindred language, 
the Grerman, based on this mode of reading the 
ancient hexameter, has had a powerful influence 
upon the type of its English fellow. But all this 
shows how extremely powerful accent is for us 
moderns, since we find not even Greek and Latin 
quantity perceptible enough without it. Yet in 
these languages, where we have been accustomed 
always to look for it, it is far more perceptible to us 
Englishmen than in our own language, where we have 
not been accustomed to look for it. And here is the 
true reason why Mr. Spedding's hexameter is not 
and cannot be the current English hexameter, even 



LAST WORDS. 47 

though it is based on the accentuation which 
Englishmen give to all Virgil's lines, and to many of 
Homer's, — that the quantity which in Greek or Latin 
words we feel, or imagine we feel, even though it be 
unsupported by accent, we do not feel or imagine we 
feel in English words, when it is thus unsupported. 
For example, in repeating the Latin line, 

Ipsa tibi blundos /undent cunabula florcs . . . 

an Englishman feels the length of the second syllable 
of f undent, although he lays the accent on the first ; 
but in repeating Mi. Speclding's line, 

Softly cometb. slumber closing th'o'envearied eyelid . . . 

the English ear, full of the accent on the first syllable 
of closing, has really no sense at all of any length in 
its second. The metrical beat of the line is thus 
quite destroyed. 

So when Mr. Spedding proposes a new Anglo- 
Virgilian hexameter he proposes an impossibility; 
when he c denies altogether that the metrical move- 
ment of the English hexameter has any resemblance 
to that of the Greek,' he denies too much ; when he 
declares that, ' were every other metre impossible, an 
attempt to translate Homer into English hexameters 
might be permitted, but that such an attempt he 
himself would never read,'' he exhibits, it seems to 
me, a little of that obduracy and over-vehemence in 
liking and disliking, — a remnant, I suppose, of our 
insular ferocity, — to which English criticism is so 



48 OX TRANSLATING HOMER : 

prone. He ought to be enchanted to meet with a 
good attempt in any metre, even though he would 
never have advised it, even though its success be 
contrary to all his expectations ; for it is the critic's 
first duty, — prior even, to his duty of stigmatising 
what is bad — to ivelcome everything that is good. 
In welcoming this, he must at all times be ready, 
like the Christian convert, even to burn what he used 
to worship, and to worship what he used to burn. 
Nay, but he need not be thus inconsistent in wel- 
coming it ; he may retain all his principles : principles 
endure, circumstances change ; absolute success is 
one thing, relative success another. Relative success 
may take place under the most diverse conditions ; 
and it is in appreciating the good in even relative 
success, it is in taking into account the change of 
circumstances, that the critic's judgment is tested, 
that his versatility must display itself. He is to 
keep his idea of the best, of perfection, and at the 
same time to be willingly accessible to every second 
best which offers itself. So I enjoy the ease and 
beauty of Mr. Spedding's stanza, 

Therewith to all the gods in order due . . . 

I welcome it, in the absence of equally good poetry 
in another metre*, although I still think the stanza 

* As I -welcome another more recent attempt in stanza, — Mr. 
Worsley's version of the Odyssey in Spenser's measure. Mr. Worsley 
does me the honour to notice some remarks of mine on this measure : 
I had said that its greater intricacy made it a worse measure than 



LAST WORDS. 49 

unfit to render Homer thoroughly well, although I 
still think other metres fit to render him better. So 
I concede to Mr. Spedding that every form of trans- 
lation, prose or verse, must more or less break up 
Homer in order to reproduce him ; but then I urge 
that that form which needs to break him up least is 
to be preferred. So I concede to him that the test 
proposed by me for the translator, — a competent 
scholar's judgment whether the translation more or less 
reproduces for him the effect of the original, — is not 
perfectly satisfactory ; but I adopt it as the best we 
can get, as the only test capable of being really 
applied; for Mr. Spedding's proposed substitute, — 
the translation's making the same effect, more or 
less, upon the unlearned which the original makes 

even the ten-syllable couplet to employ for rendering Homer. He 
points out, in answer, that ' the more complicated the correspondences 
in a poetical measure, the less obtrusive and absolute are the rhymes.' 
This is true, and subtly remarked; but I never denied that the 
single shocks of rhyme in the couplet were more strongly felt than 
those in the stanza ; I said that the more frequent recurrence of the 
same rhyme, in the stanza, necessarily made this measure more 
intricate. The stanza repacks Homer's matter yet more arbitrarily, 
and therefore changes his movement yet more radically, than the 
couplet. Accordingly, I imagine a nearer approach to a perfect 
translation of Homer is possible in the couplet, well managed, than 
in the stanza, however well managed. But meanwhile Mr. Worsley, — 
applying the Spenserian stanza, that beautiful romantic measure, to 
the most romantic poem of the ancient world ; making this stanza 
yield him, too (what it never yielded to Byron), its treasures of 
fluidity and sweet ease ; above all, bringing to his task a truly poetical 
sense and skill, — has produced a version of the Odyssey much the most 
pleasing of those hitherto produced, and which is delightful to read. 
For the public this may well be enough, nay, more than enough ; 
but for the critic even this is not yet quite enough. 
E 



50 OX TRANSLATING HOMES : 

upon the scholar, — is a test which can never really 
be applied at all. These two impressions, — that of the 
scholar, and that of the unlearned reader, — can, prac- 
tically, never be accurately compared ; they are, and 
must remain, like those lines we read of in Euclid, 
which, though produced ever so far, can never meet. 
So, again, I concede that a good verse-translation of 
Homer, or, indeed, of any poet, is very difficult, and 
that a good prose-translation is much easier; but 
then I urge that a verse-translation, while giving the 
pleasure which Pope's has given, might at the same 
time render Homer more faithfully than Pope's ; and 
that this being possible, we ought not to cease 
wishing for a source of pleasure which no prose- 
translation can ever hope to rival. 

Wishing for such a verse-translation of Homer, 
believing that rhythms have natural tendencies which, 
within certain limits, inevitably govern them ; having 
little faith, therefore, that rhythms which have mani- 
fested tendencies utterly un-Homeric can so change 
themselves as to become well adapted for rendering 
Homer, — I have looked about for the rhythm which 
seems to depart least from the tendencies of Homer's 
rhythm. Such a rhythm I think may be found in 
the English hexameter, somewhat modified. I look 
with hope towards continued attempts at perfecting 
and employing this rhythm ; but my belief in the 
immediate success of such attempts is far less con- 
fident than has been supposed. Between the recog- 






LAST WORDS. 51 

nition of this rhythm as ideally the best, and the 
recommendation of it to the translator for instant 
practical use, there must come all that consideration 
of circumstances, all that pliancy in foregoing-, 
under the pressure of certain difficulties, the abso- 
lute best, which I have said is so indispensable to 
the critic. The hexameter is, comparatively, still 
unfamiliar in England ; many people have a great 
dislike to it. A certain degree of unfamiliarity, a 
certain degree of dislike, are obstacles with which 
it is not wise to contend. It is difficult to say at pre- 
sent whether the dislike to this rhythm is so strong 
and so wide-spread that it will prevent its ever be- 
coming thoroughly familiar. I think not, but it is too 
soon to decide. I am inclined to think that the dis- 
like of it is rather among the professional critics than 
among the general public; I think the reception 
which Mr. Longfellow's Evangeline has met with 
indicates this. I think that even now, if a version 
of the Iliad in English hexameters were made by a 
poet who, like Mr. Longfellow, has that indefinable 
quality which renders him popular, — something at- 
tractive in his talent, which communicates itself to 
his verses, — it would have a great success among 
the general public. Yet a version of Homer in 
hexameters of the Evangeline type would not satisfy 
the judicious, nor is the definite establishment of 
this type to be desired ; and one would regret that 
Mr. Longfellow should, even to popularise the hexa- 

E 2 



52 ON TRANSLATING iio.MKK: 

meter, give the imiiieii.se labour required for a trans- 
lation of Homer, when one could not wish his work 
to stand. Rather it is to be wished, that by the 
efforts of poets like Mr. Longfellow in original poetry, 
and the efforts of less distinguished poets in the task 
of translation, the hexameter may gradually be made 
familiar to the ear of the English public ; at the 
same time that there gradually arises, out of all these 
efforts, an improved type of this rhythm; a type 
which some man of genius may sign with the final 
stamp, and employ in rendering Homer; an hexa- 
meter which may be as superior to Voss's as Shaks- 
peare's blank verse is superior to Schiller's. I am 
inclined to believe that all this travail will actually 
take place, because I believe that modern poetry is 
actually in want of such an instrument as the hexa- 
meter. 

In the meantime, whether this rhythm be de- 
stined to success or not, let us steadily keep in mind 
what originally made us turn to it. We turned 
to it because we required certain Homeric charac- 
teristics in a translation of Homer, and because all 
other rhythms seemed to find, from different causes, 
great difficulties in satisfying this our requirement. 
If the hexameter is impossible, if one of these other 
rhythms must be used, led us keep this rhythm 
always in mind of our requirements and of its own 
faults, let us compel it to get rid of these latter as 
much as possible. It may be necessary to have 



LAST WORDS. 53 

recourse to blank verse; but then blank verse must 
de-Cowperise itself, must get rid of the habits of 
stiff self-retardation which make it say s Not fewer 
shone,' for ' So many shone.'' Homer moves swiftly : 
blank verse can move swiftly if it likes, but it must 
remember that the movement of such lines as 

A thousand fires were burning, and by each . . . 

is just the slow movement which makes us despair 
of it. Homer moves with noble ease : blank verse 
must not be suffered to forget that the movement of 

Came they not orer from sweet Lacedaemon . . . 

is ungainly. Homer's expression of his thought is 
simple as light: we know how blank verse affects 
such locutions as 

"While the steeds mouth' d their com aloof . . . 

and such modes of expressing one's thought are 
sophisticated and artificial. 

One sees how needful it is to direct incessantly the 
English translator's attention to the essential charac- 
teristics of Homer's poetry, when so accomplished a 
person as Mr. Spedding, recognising these character- 
istics as indeed Homer's, admitting them to be essen- 
tial, is led by the ingrained habits and tendencies of 
English blank verse thus repeatedly to lose sight of 
them in translating even a few lines. One sees this 
yet more clearly, when Mr. Spedding, taking me to 
task for saying that the blank verse used for render- 
ing Homer 'must not be Mr. Tennyson's blank 

E 3 



54 ON TRANSLATING HOMES: 

verse,' declares that in most of Mr. Tennyson's blank 
verse all Homer's essential characteristics, — 'rapidity 
of movement, plainness of words and style, s!m- 
pUcity and directness of ideas, and, above all, 
nobleness of manner, are as conspicuous as in Homer 
himself.' This shows, it seems to me, how hard 
it is for English readers of poetry, even the most 
accomplished, to feel deeply and permanently what 
Greek plainness of thought and Greek simplicity of 
expression really are : they admit the importance of 
these qualities in a general way, but they have no 
ever-present sense of them ; and they easily attribute 
them to any poetry which has other excellent quali- 
ties, and which they very much admire. No doubt 
there are plainer things in Mr. Tennyson's poetry 
than the three lines I quoted ; in choosing them, as 
in choosing a specimen of ballad-poetry, I wished to 
bring out clearly, by a strong instance, the qualities 
of thought and style to which I was calling attention ; 
but, when Mr. Speckling talks of a plainness of 
thought like Homer's, of a plainness of speech like 
Homer's, and says that he finds these "constantly in 
Mr. Tennyson's poetry, I answer that these I do not 
find there at all. Mr. Tennyson is a most distin- 
guished and charming poet ; but the very essential 
characteristic of his poetry is, it seems to -me, an 
extreme subtlety and curious elaborateness of thought, 
an extreme subtlety and curious elaborateness of 
expression. In the best and most characteristic pro- 



LAST WORDS. 55 

ductions of his genius, these characteristics are most 
prominent. They are marked characteristics, as we 
have seen, of the Elizabethan poets ; they are 
marked, though not the essential, characteristics of 
Shakspeare himself. Under the influences of the 
nineteenth century, under wholly new conditions 
of thought and culture, they manifest themselves in 
Mr. Tennyson's poetry in a wholly new way. But 
they are still there. The essential bent of his poetry 
is towards such expressions as 

Now lies the Earth all Danae to the stars . . . 



O'er the siin's bright eye 
Drew the vast eyelid of an inky cloud . . . 



When the cairn'd mountain was a shadow, sunn'd 
The world to peace again . . . 



The fresh young captains flash'd their glittering teeth, 
The huge hush-bearded barons heaved and blew . . . 



He bared the knotted column of his throat, 
The massive square of his heroic breast, 
And arms on which the standing muscle sloped 
As slopes a wild brook o'er a little stone, 
Running too vehemently to break upon it . . . 

And this way of speaking is the least 'plain, the most 
unRomeric, which can possibly be conceived. Homer 
presents his thought to you just as it wells from the 
source of his mind : Mr. Tennyson carefully distils 
his thought before he will part with it. Hence 



56 ON TRANSLATING HOMEB : 

comes, in the expression of the thought,a heightened 
and elaborate air. In Homer's poetry it is all natural 
thoughts in natural words ; in Mr. Tennyson's poetry 
it is all distilled thoughts in distilled words. Ex- 
actly this heightening and elaboration may be ob- 
served in Mr. Spedding's 

While the steeds mouth' d their com aloof . . . 

(an expression which might have been Mr. Tenny- 
son's), on which I have already commented ; and to 
one who is penetrated with a sense of the real sim- 
plicity of Homer, this subtle sophistication of the 
thought is, I think, very perceptible even in such 
lines as these, 

And drunk delight of battle with my peers, 
Far on the ringing plains of windy Troy . . . 

which I have seen quoted as perfectly Homeric. 
Perfect simplicity can be obtained only by a genius 
of which perfect simplicity is an essential charac- 
teristic. 

So true is this, that when a genius essentially 
subtle, or a genius which, from whatever cause, is in 
its essence not truly and broadly simple, determines 
to be perfectly plain, determines not to admit a 
shade of subtlety or curiosity into its expression, it 
cannot even then attain real simplicity ; it can only 
attain a semblance of simplicity.* French criticism, 
richer in its vocabulary than ours, has invented a 
useful word to distinguish this semblance (often very 

* I speak of poetic genius as employing itself upon narrative or 
dramatic poetry, — poetry in which the poet has to go out of himself 



LAST WOKDS. 57 

beautiful and valuable) from the real quality. The 
real quality it calls slmpllcite, the semblance sim- 
jplesse. The one is natural simplicity, the other is 
artificial simplicity. What is called simplicity in 
the productions of a genius essentially not simple, is 
in truth simplesse. The two are distinguishable 
from one another the moment they appear in com- 
pany. For instance, let us take the opening of the 
narrative in Wordsworth's Michael : 

Upon the forest-side in Grasmere Vale 
There dwelt a shepherd, Michael was his name ; . 

. An old man, stout of heart, and strong of limb. 
His bodily frame had been from youth to age 
Of an unusual strength ; his mind was keen, 
Intense, and frugal, apt for all affairs ; 
And in his shepherd's calling he was prompt 
And watchful more than ordinary men. 

Now let us take the opening of the narrative in 
Mr. Tennyson's Dora : 

With Farmer Allan at the farm abode 

William and Dora. William was his son, 

And she his niece. He often look'd at them, 

And often thought, "I'll make them man and wife." 

The simplicity of the first of these passages is 
simplicity ; that of the second, simplesse. Let us 
take the end of the same two poems ; first, of 
Michael : — 

The cottage which was named the Evening Star 

Is gone — the ploughshare has been through the ground 

On which it stood ; great changes have been wrought 

and to create. In lyrical poetry, in the direct expression of personal 
feeling, the most subtle genius may, under the momentary pressure 
of passion, express itself simply. Even here, however, the native 
tendency will generally be discernible. 



58 OX TRANSLATING HOMER : 

In nil the neighbourhood : yel the f>ak is left 
Thai grew beside their door: and the remains 
Of the onfinish'd sheepfold may he seen 
Beside the boisterous brook of Green-head Gliyll. 

And now, of Dora: 

So those four abode 
"Within one house together; and as years 
Wen1 forward, 3Iary took another mate; 
But Dora lived unmarried till her death. 

A heedless critic may call both of these passages 
simple if he will. Simple, in a certain sense, they 
both are; but between the simplicity of the two 
there is all the difference that there is between the 
simplicity of Homer and the simplicity of Moschus. 

But, — whether the hexameter establish itself or 
not, whether a truly simple and rapid blank verse 
be obtained or not, as the vehicle for a standard En- 
glish translation of Homer, — I feel sure that this 
vehicle will not be furnished by the ballad-form. On 
this question about the ballad-character of Homer's 
poetry, I see that Professor Blackie proposes a 
compromise : he suggests that those who say Homer's 
poetry is pure ballad-poetry, and those who deny 
that it is ballad-poetry at all, should split the 
difference between them; that it should be agreed 
that Homer's poems are ballads a little, but not 
so much as some have said. I am very sensible 
to the courtesy of the terms in which Mr. Blackie 
invites me to this compromise ; but I cannot, I am 
sorry to say, accept it ; I cannot allow that Homer's 
poetry is ballad-poetry at all. A want of capacity 



LAST "WORDS. 59 

for sustained nobleness seems to me inherent in 
the ballad-form, when employed for epic poetry. 
The more we examine this proposition, the more 
certain, I think, will it become to us. Let us but 
observe how a great poet, having to deliver a narra- 
tive very weighty and serious, instinctively shrinks 
from the ballad-form as from a form not commen- 
surate with his subject-matter, a form too narrow 
and shallow for it, and seeks for a form which has 
more amplitude and impressiveness. Every one 
knows the Lucy Gray and the Euth of Wordsworth. 
Both poems are excellent ; but the subject-matter of 
the narrative of Euth is much more weighty and im- 
pressive to the poet's own feeling than that of the 
narrative of Lucy Gray, for which latter, in its un- 
pretending simplicity, the ballad-form is quite ade- 
quate. Wordsworth, at the time he composed Euth, 

— his great time, his annus mirabilis, about 1800, 

— strove to be simple ; it was his mission to be 
simple ; he loved the ballad-form, he clung to it, 
because it was simple. Even in Euth he tried, one 
may say, to use it; he would have used it if he 
could : but the gravity of his matter is too much for 
this somewhat slight form ; he is obliged to give to 
his form more amplitude, more augustness, to shake 
out its folds. 

The wretched parents all that night 

Went shouting far and wide ; 
But there was neither sound nor sight 

To serve them for a guide. 



60 ON TRANSLATING HOMER: 

That is beautiful, no doubt, and the form is ade- 
quate to the subject-matter. But take this, on the 
other hand : 

I, too, have passed her on the hills, 
Setting her little water-mills 

By spouts and fountains wild ; 
Such small machinery as she turn'd, 
Ere she had wept, ere she had mourn'd, 

A young and happy child. 

Who does not perceive how the greater fulness and 
weight of his matter has here compelled the true 
and feeling poet to adopt a form of more volume 
than the simple ballad-form ? 

It is of narrative poetry that I am speaking ; the 
question is about the use of the ballad- form for tJtis. 
I say that for this poetry (when in the grand style, as 
Homer's is) the ballad-form is entirely inadequate ; 
and that Homer's translator must not adopt it, be- 
cause it even leads him, by its own weakness, away 
from the grand style rather than towards it. We 
must remember that the matter of narrative poetry 
stands in a different relation to the vehicle which con- 
veys it, — is not so independent of this vehicle, so 
absorbing and powerful in itself, — as the matter of 
purely emotional poetry. When there comes in 
poetry what I may call the lyrical o^y, this trans- 
figures everything, makes everything grand ; the sim- 
plest form may be here even an advantage, because 
the flame of the emotion glows through and through 
it more easily. To go again for an illustration to 



LAST WORDS. 61 

"Wordsworth; — our great poet, since Milton, by his 
performance, as Keats, I think, is our great poet by 
his gift and promise ; — in one of his stanzas to the 
Cuckoo, we have : 

And I can listen to thee yet ; 

Can lie upon the plain 
And listen, till I do beget 

That golden time again. 

Here the lyrical cry, though taking the simple 
ballad-form, is as grand as the lyrical cry coining in 
poetry of an ampler form, as grand as the 

An innocent life, yet far astray ! . . . 

of Euth ; as the 

There is a comfort in the strength of love . . . 

of Michael. In this way, by the occurrence of this 
lyrical cry, the ballad-poets themselves rise some- 
times, though not so often as one might perhaps have 
hoped, to the grand style. 

lang, lang may their ladies sit, 
"WT their fans into their hand, 
Or ere they see Sir Patrick Spence 
Come sailing to the land. 
lang, lang may the ladies stand, 
Wi' their gold combs in their hair, 
Waiting for their ain dear lords, 
For they'll see them nae mair. 

But from this impressiveness of the ballad-form, 
when its subject-matter fills it over and over again, 
— is indeed, in itself, all in all, — one must not infer 
its effectiveness when its subject-matter is not thus 
overpowering, in the great body of a narrative. 



C2 ON TRANSLATING HOMER 1 

But, after all, Homer is not a better poet than the 
liiill.-idisis, because he has taken in the hexameter a 

better instrument ; he took this instrument because 
he was a different poet from them; so different, — 
not only so much better, but so essentially different, 
— that he is not to be classed with them at all. Poets • 
receive their distinctive character, not from their 
subject, but from their application to that subject of 
the ideas (to quote the Excursion) 

On God, on Nature, and on human life . . . 
which they have acquired for themselves. In the 
ballad-poets in general, as in men of a rude and early 
stage of the world, in whom their humanity is not yet 
variously and fully developed, the stock of these ideas 
is scanty, and the ideas themselves not very effective 
or profound. From them the narrative itself is the 
great matter, not the spirit and significance which 
underlies the narrative. Even in later times of richly 
developed life and thought, poets appear who have 
whatmay.be called a balladisfs mind; in whom a 
fresh and lively curiosity for the outward spectacle of 
the world is much more strong than their sense of 
the inward significance of that spectacle. When they 
apply ideas to their narrative of human events, you 
feel that they are, so to speak, travelling out of their 
own province : in the best of them you feel this per-? 
ceptibly, but in those of a lower order you feel it 
very strongly. Even Sir Walter Scott's efforts of 
this kind, — even, for instance, the 

Breathes there the man with soul so dead . . . 



LAST WORDS. 63 

or the 

Oh woman ! in our hours of ease . . . 

even these leave, I think, as high poetry, much to be 
desired ; far more than the same poet's descriptions 
of a hunt or a battle. But Lord Macaulay's 

Then out spake brave Horatius, 

The captain of the gate : 
' To all the men upon this earth 

Death cometh soon or late.' . . . 

(and here, since I have been reproached with under- 
valuing Lord Macaulay's Lays of Ancient Eome, 
let me frankly say that, to my mind, a man's power 
to detect the ring of false metal in those Lays is a 
good measure of his fitness to give an opinion about 
poetical matters at all) — I say, Lord Macaulay's 

To all the men upon this earth 
Death cometh soon or late . . . 

it is hard to read without a cry of pain. But with 
Homer it is very different. This ' noble barbarian,' 
this i savage with the lively eye,' — whose verse, Mr. 
Newman thinks, would affect us, if we could hear the 
living Homer, ' like an elegant and simple melody 
from an African of the Grold Coast,' — is never more 
at home, never more nobly himself, than in applying 
profound ideas to his narrative. As a poet he belongs, 
— narrative as is his poetry, and early as is his date, — 
to an incomparably more developed spiritual and in- 
tellectual order than the balladists, or than Scott and 
Macaulay ; he is here as much to be distinguished 
from them, and in the same way, as Milton is to be 



64 ON TRANSLATING HOMER : 

distinguished from them. He is, indeed, rather to 
be classed with Milton than with the balladists and 
Scott; for what he has in common with Milton, — 
the noble and profound application of ideas to life, — 
is the most essential part of poetic greatness. The 
most essentially grand and characteristic things of 
Homer are such things as 

%tXt\v 8', oV ofarw ris 4ttix66vios pporbs &\\os, 
avSpbs Traibo<p6voio ttot\ (Tr6fj.a x 6 <p' opeyeadai . . .* 

or as 

K<x\ ae, yzpov, rh irplv fiev aKOvo^ev vKSiov elvui . . .f 



us yap iTreKXuxravTo &eol 5eiAo?<rt fipoTdloiv, 
£wtiv b.xvvjxivovs ' avroi Be t' o/crjSe'es elffiv . . -J 

and of these the tone is given, far better than by 

anything of the balladists, by such things as the 

Io no piangeva : si dentro impietrai : 
Piangevan elli . , . § 

of Dante ; or the 

Fall'n Cherub ! to be weak is miserable . . . 
of Milton. 

* ' And I hare endured, — tie like whereof no soul upon the 
earth hath yet endured, — to carry to my lips the hand of him 
who slew my child.' — Iliad, xxiv. 505. 

f ' Nay and thou too, old man, in times past wert, as we hear, 
happy.' — Iliad, xxiv. 543. In the original this line, for mingled 
pathos and dignity, is perhaps without a rival even in Homer. 

\ ' For so have the gods spun our destiny to us wretched mortals, 
— that we should live in sorrow ; but they themselves are without 
trouble.' — Iliad, xxiv. 525. 

§ ' I wept not : so of stone grew I within : — they wept.' — Hell, 
xxxiii. 49 (Carlyle's Translation, slightly altered). 



LAST WORDS. 65 

I suppose I must, before I conclude, say a word 
or two about my own hexameters; and yet really, 
on such a topic, I am almost ashamed to trouble 
you. From those perishable objects I feel, I can 
truly say, a most Oriental detachment. You your- 
selves are witnesses how little importance, when I 
offered them to you, I claimed for them, — how 
humble a function I designed them to fill. I offered 
them, not as specimens of a competing- translation 
of Homer, but as illustrations of certain canons 
which I had been trying to establish for Homer's 
poetry. I said that these canons they might very 
well illustrate by failing as well as by succeeding : 
if they illustrate them in any manner, I am satisfied. 
I was thinking of the future translator of Homer, 
and trying to let him see as clearly as possible what 
I meant by the combination of characteristics which 
I assigned to Homer's poetry, — by saying that this 
poetry was at once rapid in movement, plain in 
words and style, simple and direct in its ideas, and 
noble in manner. I do not suppose that my own 
hexameters are rapid in movement, plain in words 
and style, simple and direct in their ideas, and noble 
in manner; but I am in hopes that a translator, 
reading them with a genuine interest in his subject, 
and without the slightest grain of personal feeling, 
may see more clearly, as he reads them, what I 
mean by saying that Homer's poetry is all these. I 
am in hopes that he may be able to seize more dis- 



GG ON TRANSLATING HOMEB : 

tinctly, when he has before him my 

So shone forth, in front of Troy, by the Led of tlm Xanthua . . . 
or my 

Ah, unhappy pair, to Peleus why did we give you . . . 
or my 

So he spake, and drove with a cry his steeds into battle . . . 

the exact points which I wish him to avoid in 

Cowper's 

So numerous seem'd those fires the banks between . . . 
or in Pope's 

Unhappy coursers of immortal strain . . . 

or in Mr. Newman's 

He spake, and yelling, held a-front his single-hoofed horses. 

At the same time there may be innumerable points 
in mine which he ought to avoid also. Of the merit 
of his own compositions no composer can be admitted 
the judge. 

But thus humbly useful to the future translator I 
still hope my hexameters may prove ; and he it is, 
above all, whom one has to regard. The general 
public carries away little from discussions of this 
kind, except some vague notion that one advocates 
English hexameters, or that one has attacked Mr. 
Newman. On the mind of an adversary one never 
makes the faintest impression. Mr. Newman reads 
all one can say about diction, and his last word on 
the subject is, that he ' regards it as a question about 



LAST WORDS. 67 

to open hereafter, whether a translator of Homer 
ought not to adopt the old dissyllabic lancbis, 
houndis, hartls ' (for lands, hounds, harts), and also 
' the final en of the plural of verbs (we dancen, they 
singen, etc.),' which 'still subsists in Lancashire.' 
A certain critic reads all one can say about style, and 
at the end of it arrives at the inference that, ' after 
all, there is some style grander than the grand style 
itself, since Shakspeare has not the grand manner, 
and yet has the supremacy over Milton' ; another 
critic reads all one can say about rhythm, and the 
result is, that he thinks Scott's rhythm, in the de- 
scription of the death of Marmion, all the better for 
being saccade, because the dying ejaculations of 
Marmion were likely to be 'jerky.' How vain to rise 
up early, and to take rest late, from any zeal for 
proving to Mr. Newman that he must not, in trans- 
lating Homer, say houndis and dancen; or to the 
first of the two critics above-quoted, that one poet 
may be a greater poetical force than another, and yet 
have a more unequal style ; or to the second, that 
the best art, having to represent the death of a hero, 
does not set about imitating his dying noises ! Such 
critics, however, provide for an opponent's vivacity 
the charming excuse offered by Eivarol for his, when 
he was reproached with giving offence by it: — 'Ah!' 
he exclaimed, 'no one considers how much pain 
every man of taste has had to suffer, before he ever 
inflicts any.' 

f 2 



68 ON TRANSLATING HOMER: 

It is for the future translator that one must work. 

The successful translator of Homer will have (or he 
cannot succeed) that true sense for his subject, and 
that disinterested love of it, which are, both of them, 
so rare in literature, and so precious ; he will not be 
led off by any false scent ; he mil have an eye for 
the real matter, and, where he thinks he may find 
any indication of this, no hint will be too slight for 
him, no shade will be too fine, no imperfections will 
turn him aside, — he will go before his adviser's 
thought, and help it out with his own. This is the 
sort of student that a critic of Homer should always 
have in his thoughts; but students of this sort are 
indeed rare. 

And how, then, can I help being reminded what a 
student of this sort we have just lost in Mr. Clough, 
whose name I have already mentioned in these lec- 
tures ? He, too, was busy with Homer ; but it is not 
on that account that I now speak of him. Nor do I 
speak of him in order to call attention to his quali- 
ties and powers in general, admirable as these were. 
I mention him because, in so eminent a degree, he 
possessed these two invaluable literary qualities, — 
a true sense for his object of study, and a single- 
hearted care for it. He had both ; but he had the 
second even more eminently than the first. He 
greatly developed the first through means of the 
second. In the study of art, poetry, or philosophy, 
he had the most undivided and disinterested love for 



LAST 'VORDS. 69 

his object in itself, the g latest aversion to mixing 
up with it anything accick i or personal. His 
interest was in literature itself; and it was this 
which gave so rare a stamp to his character, which 
kept him so free from all taint of littleness. In the 
saturnalia of ignoble personal passions, of which 
the struggle for literary success, in old and crowded 
communities, offers so sad a spectacle, he never 
mingled. He had not yet traduced his friends, nor 
flattered his enemies, nor disparaged what he ad- 
mired, nor praised what he despised. Those who 
knew him well had the conviction that, even with 
time, these literary arts would never be his. His 
poem, of which I before spoke, has some admirable 
Homeric qualities ; — out-of-doors freshness, life, 
naturalness, buoyant rapidity. Some of the ex- 
pressions in that poem, — c Dangerous Gorrievreckan 
. . . Where roads are unknown to Loch Nevish? — 
come back now to my ear with the true Homeric 
ring. But that in him of which I think oftenest, is 
the Homeric simplicity of his literary life. 



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INDEX 



Acton's Modern Cookery 27 j 

Ainu's Blackstone Economised S7 

Alpine Club Map of Switzerland H 

Alpine Guide (The) H , 

AMOs's Jurisprudence 5 

Primer of the Constitution ■'• 

Anderson's Strength of Materiali 13 

ARMSTRONG'S Organic Chemistry 13 

Arnold's (Dr.i Christiau Life 20 

. Lectures on Modern History 2 

Miscellaneous Works u 

School Sermons 20 

Sermons 20 

CT.) Manual of English Literature 8 

Aiixnn.D's Life of Dcnman 4 

Atherstone Priory 21 

Autumn Holidays of a Country Parson 9 

Ayre's Treasury of Bihle Knowledge 21 



BACON'S Essays, by Wiiately 

Life and Letters, by Spedding 

Works, edited by Spending 

Bain's Logic, Deductive and Inductive 

Mental and Moral Science 

on the Senses and Litellect 

Baker's 2 works on Ceylon 

Ball's Alpine Guide 

Becker's Charicles and Callus 

Beskey's Sanskrit Dictionary 

Black's Treatise on Brewing 

Blackley's German-English Dictionary... 

Blainb's Rural Sports 

Bloxam's Metals 

Boultbee on 39 Articles 

BOURNE'S Catechism of the Steam Engine . 

Handbook of Steam Engine 

Improvements in the Steam 

Engine 

Treatise on the Steam Engine ... 

Bowdlkr's Family Suakspkare 

Bramlky-Moore's Six Sisters of the 
Valleys 

Brande's Dictionary of Science, Litera- 
ture, and Art 

Bray's Manual of Anthropology 

Philosophy of Necessity 

on Force 

Brinkley's Astronomy 

Browne's Exposition of the 39 Articles 

Brunel's Life of Brunel 

Buckle's History of Civilization 

Miscellaneous Writings 



Bull's Hints to Mothers 

Maternal Management of Children 

Burgomaster's Family (The) 

Burke's Rise of Great Families 

Vicissitudes of Families 

Busk's Folk-Lore of Rome 

Valleys of Tirol 



9 I 



? 



Cabinet Lawyer (6 

Campbell's Norway 13 

Catk.s's Biographical Dictionary .'. 

and Woodward's Encyclopedia 3 

Changed Aspects of Unchanged Truths 10 

CiIKsNKY'b Indian Polity 3 

Modern Military Biography ... 4 

Waterloo Campaign 2 

CLOUfJir'a Lives from Plutarch 2 

Colbnso (Bishop) on Pentateuch 21 

on Moabite Stone, S:c 21 

on Speaker's Bible Commentary 20 

Collixs's Mineralogy of Cornwall 19 

Perspective 8 

Commonplace Philosopher, by A. K.H.B. ... U 

COMTE'S Positive Philosophy G 

Comyn's Elena 23 

CONGREVE'S Politics of Aristotle 6 

Conixgton's Translation of the .Lucid ... 2- r > 

Miscellaneous Writi.igs 9 

Coxtanseau's French-English Diction- 
aries 8 

CONYBKARP, and IIOWSON'S St. Paul 20 

Cotton's (Bishop) Memoir 4 

Counsel and Comfort from a City Pulpit 9 

Cox's Aryan Mythology 3 

Crusades 4 

History of Greece 2 

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